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Command Authority

  by Tom Clancy & Mark Greaney

(about 780 pages)
total words
of all the books in our library
of all the books in our library
passive voice
of all the books in our library
all adverbs
of all the books in our library
of all the books in our library
of all the books in our library

clippings from this book

We’ve analyzed hundreds of millions of words, from thousands of different authors, training our linguistic models to recognize the most vivid words in the English language… the words that create the most intense sensory experiences: colors, textures, sounds, flavors, and aromas.

Based on our analysis, we’ve scanned through the pages of this book to find the two pages at the extremes, both the most-passive and the most-vivid pages, so that you can compare them side-by-side and see the difference:

It’s okay, sport. Been pretty busy at work myself.” The younger Ryan chuckled. “So how’s life?” “It’s fine.” “Living in London is great, right?” Jack Junior could hear the excitement in his dad’s voice, almost as if he was enjoying himself vicariously through his son’s experience, reliving his own time here so long ago. Junior just muttered out an unenergetic “Yeah.” There was a pause. Jack Senior said, “It is great, right?” “I guess I’m still settling in a little.” “Is something wrong? Is there a problem?” “No, Dad. Everything is fine.” Jack Senior paused again. “You know you can talk about anything, right?” “Of course. And I will. It’s all good. Work is just frustrating.” “Okay.” The father left it alone, though he could hear tension in his son’s voice. He asked, “I was wondering if you had time to do me a favor.” Now Jack Junior lightened up. “Name it. It would be good to think about something else for a bit.” “You remember Basil Charleston, don’t you?” “Of course. It’s been a long time. He must be well into his eighties by now.” “And that’s the problem. I have a couple of questions for him, and I would love to talk to him in person, but I have a funny feeling he’s not going to be able to hear me over the phone. The last time I called him it was hit-and-miss.” “Does he still have his place in Belgravia?” “He does.” “I can swing by, it’s Present day The black Bronco shot through the storm, its tires kicking up mud and water and grit as it raced along the gravel road, and rain pelted the windshield faster than the wipers could clear it. As the truck charged along at sixty miles an hour, the back doors opened and two armed men climbed out and into the rain, one on each side. The men stood on the running boards and held on to the door frame with gloved hands. Their eyes were protected from the mud and flying rocks and water by large goggles, but their black Nomex suits and the submachine guns around their necks were wet and mud-splattered in moments along with the rest of their gear: helmets with integrated headsets, ballistic protection on their chests and backs, knee and elbow pads, and magazine pouches. Everything was soaked and caked with mud by the time the Bronco closed on a cabin in the center of a rain-swept pasture. The vehicle decelerated quickly, skidding to a stop just twenty feet from the front door. The two men on the running boards leapt off and raced toward the building, their weapons scanning the trees all around, searching for any targets. The driver of the Bronco joined soon after; just like the others, he carried an H&K submachine gun with a fat silencer on the end of the barrel. The three operators formed in a tight stack near the entrance, and the man in front reached forward

emotional story arc

Click anywhere on the chart to see the most significant emotional words — both positive & negative — from the corresponding section of the text…
This chart visualizes the the shifting emotional balance for the arc of this story, based on the emotional strength of the words in the prose, using techniques pioneered by the UVM Computational Story Lab. To create this story arc, we divided the complete manuscript text into 50 equal-sized chunks, each with 3899.70 words, and then we scored each section by counting the number of strongly-emotional words, both positive and negative. The bars in the chart move downward whenever there’s conflict and sadness, and they move upward when conflicts are resolved, or when the characters are happy and content. The size of each bar represents the positive or negative word-count of that section.

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other books by Tom Clancy & Mark Greaney

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